Abstract
In this paper, the religious question in Dostoevsky's work will be addressed taking two different aspects into consideration. Firstly, the religious context of Russian Orthodoxy, as well as the space occupied by the Orthodox tradition in the Russian intelligentsia during the 19th century. It is in this context that the thought of Vladimir Soloviev are found. He was the one responsible for the first theological reading of Dostoevsky's works under the point of view of Orthodoxy and for the development of a sophisticated interweaving of religion and aesthetics. Secondly, there is an effort for displacing the author from the theological tradition of Orthodoxy and also an attempt to position Dostoevsky’s religious thought in the outlook of Modern Nihilism. The paper argues that nihilism enables the birth of a religious vocabulary which is not conditioned by the traditional theological principles commonly linked to Dostoevsky’s aesthetic and religious universe. Thus, we understand that it is on the horizon of nihilism and not within the frameworks of a traditional religion that Dostoevsky's Christianity must be interpreted.
Highlights
And to a great extent highlighted in theological circles, Dostoevsky's reception was given a confessional intonation
The perception of nihilism as the terrain on which Russian modernity flourished appears in his work through an unprecedented philosophical formulation and the traditional denomination of the young radicals of the 1860s as nihilists, provided by the label printed by Turgenev in Fathers and Sons, does not exhaust the concept and its role in the gestation of Dostoevsky's ideas
Alongside the withdrawal of a range of religious antinomies underlying Dostoevsky’s thought and work, Soloviev's discourses undertook a systematic reflection on some theological elements considered the substance of Dostoevsky's Art, interpreting them as an aesthetic expression of the formal elements of the Orthodox Church
Summary
And to a great extent highlighted in theological circles, Dostoevsky's reception was given a confessional intonation. The perception of nihilism as the terrain on which Russian modernity flourished appears in his work through an unprecedented philosophical formulation and the traditional denomination of the young radicals of the 1860s as nihilists, provided by the label printed by Turgenev in Fathers and Sons, does not exhaust the concept and its role in the gestation of Dostoevsky's ideas.
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